Cher Public

Still crazy after all these years

Dinorah is the “attractive… worthy… untiring” Jennifer Moore.

A return to Amore Opera’s production of Meyerbeer’s Dinorah to hear the second cast underlined two conclusions: first, that the woods of Brittany are absolutely full of top-notch coloratura sopranos running mad after pet goats, and second, less astonishingly, that Meyerbeer was a first-rate, elegant composer of opera, light as well as grand.  Read more »

Lite Meyerbeer

Joy and mental sanity reign at the end of Dinorah for Suchan Kim and Holly Flack.

Meyerbeer’s name, when remembered at all, is synonymous with folies de grandeur, a veritable Mercedes Benz (or, more likely, Hispano-Suiza) of old-fashioned operatic vehicle. Read more »

Arrivederci, Romany!

Shuffle the cards and hitch up the caravans for Morningside! In the same season that Manhattan School of Music revived The Gypsy Baron, Riverside Theater around the corner is the site of Amore Opera’s “Season of Gypsy Operas.” This consists, in typical Amore fashion, of a lively staging of a repertory staple, in this case Carmen, plus a bel canto rarity, the American premiere of Donizetti’s La ZingaraRead more »

Donizetti, lionized

Just when you thought it was safe to return to Rossini and Verdi—blam!

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Beyond the Valley of the Freemasons

An impresario with a hit on his hands—Emanuel Schikaneder, for instance, after the initial run of Die Zauberflöte—will crave nothing so much as an opportunity to hit the same bell.

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The odd Pasquale

At the age of thirty, Donizetti was already the experienced composer of about eighteen operas, both serious and farcical, but as Olivo e Pasquale (currently undergoing its American premiere run at Amore Opera) makes clear, the comic works were no slight matter.

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